The composer, Koji Kondo, initially planned to use Maurice Ravel's Boléro as the game's title theme, but was forced to change it when he learned, late into the game's development cycle, that the copyright for Boléro hadn't expired yet ; therefore he wrote a new arrangement of the overworld theme within one day.

He produced four main pieces of background music for the first installment of the series ; the overworld theme has become comparable in popularity with the Super Mario Bros. main theme.

As with most Zelda games, Link's Awakening includes the recurring overworld music ; the Game Boy arrangement of this theme, titled " Field ", was created by Koji Kondo and Ishikawa.

At different points in the game, Mario is " cursed " with abilities that enable special moves in the overworld, all of which are based on the paper theme.

The game exchanged the top-down perspective for side-scrolling ( though the top-down point of view was retained for overworld areas ), and introduced RPG elements ( such as experience points ) not used in The Legend of Zelda.

Link attacking Recurring enemies in The Legend of Zelda series # Octorok | Octorok monsters with his sword in the overworld

The overworld, the area where the majority of the action occurs in other The Legend of Zelda games, is still from a top-down perspective, but it now serves as a hub to the other areas.

StarTropics is played from a 2D top-down perspective, similar to The Legend of Zeldas dungeon areas, and various role-playing video games on the NES ( town / overworld areas ); however, StarTropics is linear and has a constant storyline.

Every game in the main Zelda series has consisted of three principal areas: an overworld in which movement is multidirectional, allowing the player some degree of freedom of action ; areas of interaction with other characters ( merely caves or hidden rooms in the first game, but expanding to entire towns and cities in subsequent games ) in which the player gains special items or advice ; and dungeons, areas of labyrinthine layout, usually underground, comprising a wide range of difficult enemies, bosses, and items.

As Link and his three counterparts wander the overworld of Hyrule Field on their quest to restore peace to Hyrule, they learn that the creation of Link's evil counterpart and the release of Vaati is only a small part in an insidious plot to conquer the land of Hyrule and the world beyond.

During the course of the game, the player sees Link from a top-down perspective and must navigate him through the overworld and several dungeons, defeating enemies and solving puzzles on the way.

The player controls Link from a flip-screen overhead perspective as he travels in the overworld, a large outdoor map with varied environments.

Link can freely wander the overworld, finding and buying items at any point.

When not in a dungeon, Link explores the overworld.

Though Link must still collect several items in order to progress in the game ( as in the previous and subsequent installments of the series ), these special items grant abilities which either remain in permanent use for the rest of the game or are only activable in the overworld.

The dungeons are connected by a large overworld, across which Link can travel on foot, on his horse Epona, or by teleporting to one of many specified points.

He also carries Midna, a small imp-like creature who gives hints, uses an energy field to attack enemies, helps Link jump long distances, and eventually allows Link to " warp " to any of several preset locations throughout the overworld.

The third episode's overworld is a top-down perspective, similar to Commander Keen, changing to the traditional platformer style when entering one of the 15 levels.

Both titles featured rearranged dungeons, an altered overworld, and new voice-acted plot-lines.

The game contains 24 levels and a map screen ; there is no connecting overworld.

The methods of viewing and controlling the characters are separated by three different " screens ": the overworld, where the characters traverse to different locations ; the field map, where the characters explore locations such as towns and dungeons ; and the battle screen, where the characters fight with monsters or other enemies.

The player navigates through the game via two game screens: an overworld map and a level playfield.

The overworld map displays an overhead representation of the current world and has several paths leading from the world's entrance to a castle.

Completing stages allows the player to progress through the overworld map and to succeeding worlds.

A new feature is the player's option to save power-up items obtained in minigames for later use via a menu accessible at the overworld screen.

Super Mario Bros. 3 includes a multiplayer option which allows two players to cooperatively play the game by taking turns at navigating the overworld map and accessing stage levels ; the first player controls Mario, while the other controls Luigi.

The player controls Mario and a number of partners to solve puzzles in the game's overworld and defeat enemies in a turn-based battle system.

For the majority of the game, the player controls Mario, who can jump and use his hammer to overcome physical obstacles placed in the game's overworld.

The player accumulates partners as they advance into different locations ; only one partner can accompany Mario in the overworld, although the player can interchange between them at any time.

The player can locate hidden battle upgrades in the game's overworld, which promotes one partner character to a new rank at a time.

Like Super Mario World, instead of going through a series of stages through each world, the player navigates a large overworld map that contains an additional map for each world with its own series of stages followed by a boss.

However, the six worlds can be played in any order unlike in most Mario games that feature overworld maps.

Rather than using an overworld map screen like most console RPGs of its era, the world is entirely seamless, with no differentiation between towns and the outside world.

Itoi decided to exclude an overworld, because he wanted no distinction to remain between towns and the outside world.

Phantasy Star was one of the pioneers of the traditional console RPG format, featuring fully traversable overworld maps, complete with interactive towns, and sprawling dungeons.

The player engages in random enemy encounters, both on the overworld map and in dungeons, which saw a change from the top-down perspective to a first-person view.

There are a total of 7 areas ( subtracting the DK Isles, the overworld for the game and Hideout Helm ): Jungle Japes, Angry Aztec, Frantic Factory, Gloomy Galleon, Fungi Forest, Crystal Caves, and Creepy Castle.

Presenting " The Amazing Legend " as its main theme, the Carnival left thousands thrilled as the parade passed by showing a large variety of the most extravagant batik fashions.

Though referred to as " the first modern vampire novel ", it is as a novel of social theme that I Am Legend made a lasting impression on the cinematic zombie genre, by way of director George A. Romero, who acknowledged its influence and that of its 1964 adaptation, The Last Man on Earth, upon his seminal film Night of the Living Dead ( 1968 ).

Written by Dean Pitchford ( whose other output includes Fame, Footloose, Sing, Solid Gold and the musical Carrie ), this was the combined narration / theme from the movie The Legend of the Lone Ranger ... which was a box-office flop.

Legend of Manas title theme was also performed by the Australian Eminence Symphony Orchestra for its classical gaming music concert A Night in Fantasia 2007.

His fate was a theme in Spain's Black Legend, and inspired a play by Friedrich Schiller and an opera by Giuseppe Verdi.

Benatar would hit the US Top 10 with the # 10 single " Invincible " ( the theme from the movie, The Legend of Billie Jean ) in 1985.

* The Legend of the Book and Sword ( 書劍恩仇錄 ), theme song from TV series The Legend of the Book and Sword ( 1976 )

* Forgets With All One's Heart the Sentiment ( 忘盡心中情 ), theme song from TV series The Legend of Master So ( 1982 )

* Heroine ( 巾幗英雄 ), theme song from TV series The Legend of the Unknowns ( 1983 )

* The Illumination of a Thousand World ( 光照萬世 ), theme song from TV series The Legend of Wong Tai Sin ( 1986 )

* Passing With the Wind ( 隨風而逝 ), sub theme song from TV series The Legend of Wong Tai Sin ( 1986 )

* Hu Han Dream ( 胡漢夢 ), theme song from TV series The Legend of the Book and Sword ( 1987 )

* To Die, To A Unique Skill ( 絕世絕招 ), theme song from TV series The Legend of the Condor Heroes ( 1994 )

* The Immortal of the Water Center ( 水中仙 ), theme song from TV series Where the Legend Begins ( 2002 )

For the new dungeon, Yuichi Ozaki composed a musical piece based on Kondo's dungeon theme from the original The Legend of Zelda.

" The developers asked the producers of The Legend of Zelda: A Link to the Past, another Nintendo game, for advice because the game also used the theme of parallel worlds.

They also released Spiritual Warfare, an action-adventure title similar in style to The Legend of Zelda, albeit with the requisite religious theme ( the player, as a foot soldier in the Lord's army, is tasked with saving the souls of the heathen populace, using fruit of the spirit ).

The film's theme song, " One Tin Soldier ( The Legend of Billy Jack )" by Coven, became a Top 40 hit in 1971, and featured the chorus:

With a historical Chinese theme and taking place in the Qing dynasty, The Legend of Lotus Spring featured a real-world location, Beijing's Yuan Ming Yuan, the Garden of Perfect Brightness, which was destroyed in 1860 and is currently a ruin.

) In addition to the daily broadcasts, the cast of the show performed regular stage shows at such venues as local movie theaters and malls, Encanto Park ( in central Phoenix ), and the Legend City theme park.

" A Legend of Old Egypt " and Pharaoh show unmistakable kinships in setting, theme and denouement.

" A Legend of Old Egypt ," published in 1888, shows unmistakable kinships in setting, theme and denouement with Prus ' 1895 novel Pharaoh, for which the short story served as a preliminary sketch.

Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the Golden Legend, is the triumph of the True Cross – the wood from the Garden of Eden that became the Cross on which Christ was crucified.